All Time Top 1100 Albums (Aerosmith - Big Ones) P265

Eric Clapton’s always been a bit of a puzzle to me. I’ve never been moved by his music because it seems like an exercise in creating space for him to insert ridiculously great-sounding licks. I suppose if you wanted (and you shouldn't) you could make the same statement about Hendrix or Van Halen, but Jimi moved you vocally -- with his soul -- and Eddie had David Lee Roth to add a touch of the ridiculous (and a hell of a rhythm section). Like Knopfler or Santana, guitar heroes as effectively solo artists can be great (or mediocre) but sometimes they never really progress.

So while a lot of “Layla, etc.” sounds super tasty, at the end you’re kind of left wondering what the message is here. Here are blues with varying tempos and fills, played with incredible skill, but embedded in songs thematically mundane and uninteresting (“love” as a trope, but one you never feel -- with one exception). And two records worth of them at that. Clapton even says these songs were just “something to play” and while that can be loose and freewheeling, there’s no way a guy this obsessive isn’t going to tinker -- a LOT -- in the studio (which he did of course). It doesn’t make it any better that Clapton has brought in Duane Allman to go toe-to-toe with him -- this makes it even more about them and their talent and less about the music and what it says. This record is the absolute poster child for why I find the Allman Brothers dull, and -- as a counterpoint -- Lynyrd Skynyrd catchy and captivating.

And I made a mistake earlier. This record is 50+ years old. As I played it I realized -- I’m an idiot, I’ve heard a ton of this before. Well, “listened to.” “Heard” I’m less sure of.

Having said all that -- wow, the talent. I mean it’s blistering. The hits -- “Layla”, “Bell Bottom Blues”, “Tell The Truth” and the criminally-underrated “Why Does Love Got To Be So Sad?” -- are pretty freaking mesmerizing, and some of the others are wonderful examples of a craftsman working with wood and strings that go beyond mere mortals. “Layla” is titanic, but I agree with those of you who feel it doesn’t quite fit -- maybe because Eric actually emotes (he’s pretty stressed about her, yeah?), or maybe because he just fucking rocks rather than, errr, blues-es. Whether full blazing-speed or just the little fills, everywhere you listen, Clapton is working in oils like Michelangelo. Even when he isn’t, “I Looked Away” and “Anyday” carry the slide guitar and/or that Hammond about as far as they can go in a rock/blues context as opposed to a country or church one, respectively. But then I get bog-standards like “Key To The Highway” and “It’s Too Late” and “Have You Ever Loved A Woman?” (answer: yes) that literally have innovation factors of 0 despite how good they sound, covers or no. On a double record, there needs to be something more -- more chances taken, more to say.

I can handle Clapton’s voice – it’s modest, which means it doesn’t overwhelm the licks, but it also serves to -- once again -- muddy the emotion that songs about love should IMO carry if we want to feel them. This is the counterpoint to early Dylan -- here the music is all, but the poetry is weak, instead of vice versa. Of course, you could argue blues singers always understate. Fair enough, but if I’m down about getting dumped I prefer the solo piano anyway -- or something like "Thorn Tree In The Garden" (theoretically; in practice that tune was more than a bit crap).

I suppose (not suppose -- KNOW) some will find the simplicity of the theme as charming or winning, or sad or beautiful. Lots have, given its ranking among the all-time great records. But I don’t. Sonically, sure -- top-drawer blues played by one of the best ever. Thematically? I already know love can be a bucket of shit -- next, please.

I’m wavering between scores, but in the end . . . well, that “Goodfellas” scene breaks the tie. 6/10.
 
Last edited:
Eric Clapton’s always been a bit of a puzzle to me. I’ve never been moved by his music because it seems like an exercise in creating space for him to insert ridiculously great-sounding licks. I suppose if you wanted (and you shouldn't) you could make the same statement about Hendrix or Van Halen, but Jimi moved you vocally -- with his soul -- and Eddie had David Lee Roth to add a touch of the ridiculous (and a hell of a rhythm section). Like Knopfler or Santana, guitar heroes as effectively solo artists can be great (or mediocre) but sometimes they never really progress.

So while a lot of “Layla, etc.” sounds super tasty, at the end you’re kind of left wondering what the message is here. Here are blues with varying tempos and fills, played with incredible skill, but embedded in songs thematically mundane and uninteresting (“love” as a trope, but one you never feel -- with one exception). And two records worth of them at that. Clapton even says these songs were just “something to play” and while that can be loose and freewheeling, there’s no way a guy this obsessive isn’t going to tinker -- a LOT -- in the studio (which he did of course). It doesn’t make it any better that Clapton has brought in Duane Allman to go toe-to-toe with him -- this makes it even more about them and their talent and less about the music and what it says. This record is the absolute poster child for why I find the Allman Brothers dull, and -- as a counterpoint -- Lynyrd Skynyrd catchy and captivating.

And I made a mistake earlier. This record is 50+ years old. As I played it I realized -- I’m an idiot, I’ve heard a ton of this before. Well, “listened to.” “Heard” I’m less sure of.

Having said all that -- wow, the talent. I mean it’s blistering. The hits -- “Layla”, “Bell Bottom Blues”, “Tell The Truth” and the criminally-underrated “Why Does Love Got To Be So Sad?” -- are pretty freaking mesmerizing, and some of the others are wonderful examples of a craftsman working with wood and strings that go beyond mere mortals. “Layla” is titanic, but I agree with those of you who feel it doesn’t quite fit -- maybe because Eric actually emotes (he’s pretty stressed about her, yeah?), or maybe because he just fucking rocks rather than, errr, blues-es. Whether full blazing-speed or just the little fills, everywhere you listen, Clapton is working in oils like Michelangelo. Even when he isn’t, “I Looked Away” and “Anyday” carry the slide guitar and/or that Hammond about as far as they can go in a rock/blues context as opposed to a country or church one, respectively. But then I get bog-standards like “Key To The Highway” and “It’s Too Late” and “Have You Ever Loved A Woman?” (answer: yes) that literally have innovation factors of 0 despite how good they sound, covers or no. On a double record, there needs to be something more -- more chances taken, more to say.

I can handle Clapton’s voice – it’s modest, which means it doesn’t overwhelm the licks, but it also serves to -- once again -- muddy the emotion that songs about love should IMO carry if we want to feel them. This is the counterpoint to early Dylan -- here the music is all, but the poetry is weak, instead of vice versa. Of course, you could argue blues singers always understate. Fair enough, but if I’m down about getting dumped I prefer the solo piano anyway -- or something like "Thorn Tree In The Garden" (theoretically; in practice that tune was more than a bit crap).

I suppose (not suppose -- KNOW) some will find the simplicity of the theme as charming or winning, or sad or beautiful. Lots have, given its ranking among the all-time great records. But I don’t. Sonically, sure -- top-drawer blues played by one of the best ever. Thematically? I already know love can be a bucket of shit -- next, please.

I’m wavering between scores, but in the end . . . well, that “Goodfellas” scene breaks the tie. 6/10.
Well covered fog with some pertinent sentiments regarding songs , musicianship and too much of a good thing is not always a good thing.

Even as far as riffs go and songs go Layla doesn't cut it for me but that's me , many of my friends think its his best work and makes the album worth buying ( not that it matters these days on that score unless you love vinyl ) on that song alone.
 
Well covered fog with some pertinent sentiments regarding songs , musicianship and too much of a good thing is not always a good thing.

Even as far as riffs go and songs go Layla doesn't cut it for me but that's me , many of my friends think its his best work and makes the album worth buying ( not that it matters these days on that score unless you love vinyl ) on that song alone.
I do love “Layla” but I think it’s especially for the second bit with the tempo shift and the piano. I’m not sure what my favo(u)rite of his tunes is actually. They all leave me wanting something, not sure what. I know I shouldn’t prefer George Thorogood’s blues to Clapton’s, but I can’t help it — I do.
 
I do love “Layla” but I think it’s especially for the second bit with the tempo shift and the piano. I’m not sure what my favo(u)rite of his tunes is actually. They all leave me wanting something, not sure what. I know I shouldn’t prefer George Thorogood’s blues to Clapton’s, but I can’t help it — I do.
Me too as it turns out Fog and unfortunately for most of my music mates by a long way.

Totally agree on the shift in tempo and scale and the piano for me anyway takes it from a song that I wouldn't listen to ( believe it or not I would prefer to listen to Sleeping Satellite if it were only those two to pick from ) to a song that I would and still do.

If you haven't listened to 461 recently check it out again the album will grow on you if it hasn't already.
 
Me too as it turns out Fog and unfortunately for most of my music mates by a long way.

Totally agree on the shift in tempo and scale and the piano for me anyway takes it from a song that I wouldn't listen to ( believe it or not I would prefer to listen to Sleeping Satellite if it were only those two to pick from ) to a song that I would and still do.

If you haven't listened to 461 recently check it out again the album will grow on you if it hasn't already.
I haven’t (at least not in a zillion years) and I totally should!
 
I do love “Layla” but I think it’s especially for the second bit with the tempo shift and the piano. I’m not sure what my favo(u)rite of his tunes is actually. They all leave me wanting something, not sure what. I know I shouldn’t prefer George Thorogood’s blues to Clapton’s, but I can’t help it — I do.
Rita Coolidge say she wrote the 2nd bit.

Rita Coolidge says she co-wrote piano coda in 'Layla' (tallahassee.com)

When the song, which would go on to become a classic-rock standard, got to the signature piano coda, Coolidge was gobsmacked.

“I realized it was (my song) ‘Time,’” Coolidge, 70, said during a recent phone interview with the Tallahassee Democrat.

“Time” was a tune that she and her former boyfriend, drummer Jim Gordon, had written together and turned into a demo for Eric Clapton, the leader of Derek and the Dominos. Gordon went on to become the drummer for the Dominos.

“I wrote the bridge and all of the melody,” Coolidge said. “He (Gordon) was not much of a songwriter. ... And he wasn’t a great piano player.”
 
Rita Coolidge say she wrote the 2nd bit.

Rita Coolidge says she co-wrote piano coda in 'Layla' (tallahassee.com)

When the song, which would go on to become a classic-rock standard, got to the signature piano coda, Coolidge was gobsmacked.

“I realized it was (my song) ‘Time,’” Coolidge, 70, said during a recent phone interview with the Tallahassee Democrat.

“Time” was a tune that she and her former boyfriend, drummer Jim Gordon, had written together and turned into a demo for Eric Clapton, the leader of Derek and the Dominos. Gordon went on to become the drummer for the Dominos.

“I wrote the bridge and all of the melody,” Coolidge said. “He (Gordon) was not much of a songwriter. ... And he wasn’t a great piano player.”
Wow! Learn something new every day. And we always thought drummers were the least shady members of bands! Well, maybe bassists.
 
Wow! Learn something new every day. And we always thought drummers were the least shady members of bands! Well, maybe bassists.
This came to my attention a few years ago, there was a tv show (60 minutes?) which she was interviewed, she came across very truthfully, apparently she left a demo tape of her playing it in the studio where D and Ds were recording.
She forgot about it but later it appeared on a huge selling single.
She complained but she was just a young girl who no'one would believe, her word against famous Rock stars and Stigwood ? forget it.
 
I haven’t (at least not in a zillion years) and I totally should!
I have a feeling before the fog sets in San fran you will however no doubt a lot more important and enjoyable music to listen to for you and to introduce to your kids and grandkids and others as part of your eventual legacy to those that matter the most to you.

BTW Your choice of the Replacements was a master stroke did I tell you that (LOL).

Here comes a regular - what a song simply mind blowing what lyrics.

I never appreciated how good a song writer Paul Westerberg was until I listened to the likes of Green Day and Nirvana for example who I have no doubt were inspired by him but IMO fall short to generate thee same emotion and emotional swings in their craft.
 
I have a feeling before the fog sets in San fran you will however no doubt a lot more important and enjoyable music to listen to for you and to introduce to your kids and grandkids and others as part of your eventual legacy to those that matter the most to you.

BTW Your choice of the Replacements was a master stroke did I tell you that (LOL).

Here comes a regular - what a song simply mind blowing what lyrics.

I never appreciated how good a song writer Paul Westerberg was until I listened to the likes of Green Day and Nirvana for example who I have no doubt were inspired by him but IMO fall short to generate thee same emotion and emotional swings in their craft.
I think it's a little hard to judge Nirvana as falling short as their output was minimal (but what little there was was by and large amazing) and Cobain got saddled with the "hero of a generation" tag which he never wanted which impacted how and what he played (and his happiness). Green Day on the other hand I have always thought of like The Jam musically -- there is something missing in their hooks. On an emotional level they aren't anywhere near either The Replacements nor Nirvana. Hell, Blink 182 is closer (c.f. "Stay Together For The Kids", which I find heart-wrenching) and always had ffffaaaaarrrr better hooks than Green Day IMO.

PS. If we ever do a saddest song thread, "Stay Together For The Kids" will be in my top 5, maybe top 3. I almost can't listen to it, and my parents were generally happy until long after I became an adult, and I've been happily married 29 years. It's absolutely brutal.
 
Last edited:

Don't have an account? Register now and see fewer ads!

SIGN UP
Back
Top
  AdBlock Detected
Bluemoon relies on advertising to pay our hosting fees. Please support the site by disabling your ad blocking software to help keep the forum sustainable. Thanks.